Essay Sample on Community Music Therapy

Introduction

In his article on community music therapy, Ansdell (2002) argues that the acknowledgment of a broader practice in music therapy is necessary for the development of a broader theoretical model to support the idea. In the discussion paper, the scholar argues that a paradigm shift is required to support and also validate the practice in music therapy to ensure that the therapeutic benefits are obtained. In this regard, it is essential to evaluate a music-centered model which is context-based. Through this, it is possible to highlight the social and cultural factors that influence music therapy in theory and practice. In this regard, the scholar examines the British perspective to support his thesis. For example, the article highlights the possibility of two parallel 20th century professions regarding community music. It suggests that community music and music therapy depict various possibilities of mutual accommodation thereby describing the ecological evolution of community music role in society. To validate this, Ansdell (2002) evaluates a couple of socio-cultural contexts to examine a consensus model that can explain the situation in the UK. From his analysis, Ansdell (2002) ascertained that a paradigm shift is necessary to establish a theoretical model on community music therapy that can be fruitful in the application in the society. In this regard, the scholar concludes that further exploration will lead to development that is imperative for the future generations.

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The chapter on musical communication by Ansdell and Pavlicevic (2005) examines the importance of music communication notion that has been common in the therapeutic field. The scholars review the interdisciplinary research regarding the relationship between health and the social interaction regarding contemporary music therapy. According to the scholars, placing 'music as a communication idea' can foster and also embody a humanistic value on the musical dialogue that is used as a community companionship. The chapter notes that contemporary musical therapy has been a mixed practice where music as communication is used as a theme by the music therapists to legitimize their work. An example of Jay, who is mentally challenged is given where a music therapist examines him. From the analysis, qualities of communication, fluency, and expressiveness mark a contrast towards the extreme behavior. In this regard, music is seen to change the communication channel. It is, therefore, essential to explore music therapy further to understand what form of communication channel it posts. The researchers noted that music offers a communication channel that is an invitation towards participation rather than explanation. This implies that although research is ongoing regarding musical communication and its role in psychological well-being, music therapy creates a simultaneous effect and dialogue that can have an immense impact psychologically. Ansdell and Pavlicevic (2005) conclude that communicative musicality operates within appropriateness and should, therefore, be allowed to give more optimism regarding our biological nature.

The article by Ansdell (2005) regarding community music therapy seeks to give some of the initial thoughts regarding the paradoxes of performance in music therapy. The explorations which are based on the contemporary society are examined through the perspective of the evolving practice concerning the community music therapy discourse. In this regard, Ansdell (2005) explores the aspects of theory, exercise, and performance within music therapy, and how various scholars argue and debate the issue of application. To examine the discourse, the scholars make use of a case study in East London regarding Music Therapy Project. It is important to note that this was part of a more massive project. Besides, the scholar examines different interdisciplinary theoretical perspectives regarding music and performance on personal as well as social development. Following the research, the scholar ascertains that a new discourse regarding community music therapy is necessary and imperative in opening the theoretical and professional discussion on music therapy and its significance on the application. In essence, to reach full potential and solve problems, music performance needs to be examined as a performance of art within the reflexive practice. This implies that as Ansdell (2005) suggests, full potential and continuum of music therapy can be reached through evaluation of various discourses.

The article on revisiting music therapy contains a reflection by Ansdell (2014) on his original article where he explored various circumstances in the UK that led to the development of community music therapy. In this regard, the reflection seeks to evaluate the events that have been done wrong. Ansdell (2014) examined responses by various music therapists including Mercedes, Stuart, Gary, and Simon who work in multiple parts of the world including Europe and Africa. The researchers summarize that all the therapists he engaged have common questions and concerns regarding the application of music therapy. For example, he noted that all the music therapists are concerned about the diversity of practices in the field and theoretical applications in the same. In this regard, the area is noted to be broad such that categorization of activities in the field is hard. As pointed out in the article, community music seeks to recreate a community thereby providing numerous opportunities for music participation. In this regarding, considering the discourses witnessed by the scholar, it is essential to evaluate further discourses to enhance a more ecological understanding. For example, the article argues that an individual response towards attitude on therapy can be very impactful towards health and overall wellbeing. However, each person has an individual answer from the other especially considering personal problems and pyscho-sociocultural factors. In essence, the scholar noted that therapists are widely concerned of the community perspective of music therapy application hence necessitating further research to avert the challenges obtained.

Conclusion

The chapter on musical flourishing and the cultivation of wellbeing reflects on the growing recognition of music as a potential resource for social care and health. Ansdell and DeNora (2012) analyze the flourishing of music in contemporary society and how community music therapy has been faced with controversy while cultivating the wellbeing of people in society. The scholars suggest that the growing interdisciplinary understanding of health, as well as welfare in the ecological phenomena, integrates with the understanding of people's behavioral nature. It was established that music meshes with development in understanding various contexts and people's psychological nature. In this regard, the different explorations depict how music is an essential resource towards cultivating overall wellbeing regarding relationship and identity in the community. However, various dilemmas, ironies, as well as controversies, overwhelm the current understanding and fashionable applause of music and its role in human health. According to the scholars, music is active within the world of human projects and, therefore, requires an ecological approach to solve various human problems creatively. In this regard, the scholars examined musical flourishing in the community as an ecological approach towards creating the internal and external conditions necessary for musicality to reveal its capacities. The scholars concluded that music has immense power which can be of significant help when exploited appropriately.

References

Ansdell, G. (2002). Community Music Therapy & The Winds of Change. Voices: A World Forum for Music Therapy, 2 (2).

Ansdell, G., & Pavlicevic, M. (2005). Musical companionship, musical community. Music therapy and the process and value of musical communication. Musical communication, 193-213.

Ansdell, G. (2005, November). Being who you aren't; doing what you can't: Community music therapy and the paradoxes of performance'. In Voices: A world forum for music therapy (Vol. 5, No. 3).

Ansdell, G. (2014). Revisiting 'Community music therapy and the winds of change' (2002): An original article and a retrospective evaluation. International Journal of Community Music, 7 (1), 11-45.

Ansdell, G., & DeNora, T. (2012). Musical flourishing: Community music therapy, controversy, and the cultivation of wellbeing. Music, health & wellbeing, 97-112.